Legally Blonde: The Musical is, of course, based on the 2001 hit starring Reese Witherspoon, a movie that led to a rather woebegone sequel in 2003’s Legally Blonde: Red, White, & Blonde. Yet while watching the original film’s stage version on Thursday, I felt that Red, White, & Blonde also would’ve been a fitting title for Quad City Music Guild’s terrifically peppy new presentation, considering that this solo-star-driven show came off, instead, as pretty wonderfully democratic.

There are few things in today’s desensitized society that I think will shock audiences. But the Playcrafters Barn Theatre’s Second Samuel, by author Pamela Parker, manages to shock in its secret that's almost carried to the grave by Miss Gertrude, a deceased woman who is never seen on stage. That secret creates the play’s tension, and ultimately leading to a lesson in tolerance that avoids being too preachy, and that applies to the acceptance of anyone’s differences.

John VanDeWoestyne proves a capable center for the Richmond Hill Barn Theatre's The Odd Couple. Portraying playwright Neil Simon's slovenly divorcée Oscar Madison, VanDeWoestyne’s comedic timing shines as he adeptly pauses here or rushes there in ways that increase his punchlines' comical impact. The actor never quite overcomes his natural poise and intelligence to fully sell the character, but his Oscar is also a bit funnier for those qualities; it's fun seeing this normally classy man speaking and acting like a disorderly bachelor. While there’s plenty that’s worthy of praise in director Mike Skiles’ well-paced production, it’s VanDeWoestyne who deserves extra credit for being the glue that holds it all together.

While traveling to Thursday’s presentation of The Wizard of Oz, which features much-loved songs by Harold Arlen and E.Y. Harburg, I pondered whether the Clinton Area Showboat Theatre’s production would stick closely to the familiar images and characterizations from the equally loved 1939 film version. (As I prefer to see local theatre companies presenting unique versions of theatrical pieces, I hoped the Showboat would avoid copycat staging.) But once I settled into my seat, it took just a perusal of the program to know this wasn’t going to be my grandfather’s Oz, and a sense of excitement blossomed as I eagerly awaited the metaphorical curtain's opening.

The Timber Lake Playhouse’s Young Frankenstein is a polished, professional production featuring stellar performances by the lead actors and impressive energy from the ensemble. Playwright/composer Mel Brooks’ material – with its book by Thomas Meehan – is well-served by this group of talented performers, dynamic lighting effects by designer James Kolditz, inventive choreography by Cameron Turner, and adeptly paced humor by director Brad Lyons. After seeing my first production at this much-lauded theatre in Mt. Carroll, I left impressed.